Gundy” is a reversion to the cinema of the 70’s and 80’s when the wronged hero was still virtuous; the heroine was seductive, but still coy; and the system was something you had to fight against to get what was rightfully yours. Director Zafar gives us a more urbanized version of those films. Bikram (Ranveer Singh) and Bala (Arjun Kapoor) are friends who break away from Dhaka in the aftermath of the 1971 Bangladesh war and find themselves orphaned and homeless in Kolkata. They quickly see there is money to be made in a wagon-breaking — robbing coal from trains and selling it at subsidized prices in the market. They grow up; develop rippling muscles; run across sooty coal fields in slow motion; and are dressed in snowy. They also graduate from being small-time robbers to philanthropic gangsters who operate schools and orphanages, which are funded by their color Dhanda (the illegal business). But Zafar doesn’t devote too much time to specifics. He establishes that Bikram and Bala are into illegal actions; are wanted by the police (specifically by Irrfan Khan, playing police officer Satyajeet Sarkar); and that their friendship hits a roadblock when they both fall for cabaret dancer Nandita (Priyanka Chopra). The rest of the movie plays out predictably, but at a glacial pace. Instead of upping the ante, Zafar wastes time in song sequences and delays the inevitable end. The film re-makes the angst most Bollywood films of the time depicted, but that angst is now airbrushed and polished to such a degree that it doesn’t ring true. When Ranveer Singh’s character — with his glossy hair, shaved chest and perfectly sculpted muscles — rants to Chopra about how the system has failed, it seems fake. Chopra, who doesn’t experience a hair out of place while taking a bullet or getting kidnapped, also overdoes the coy act. Neither of the lead actors can muster up the acting chops required for the role — their anger and sense of victory at having beaten the system is pressured. The film acts as a half-hearted attempt at re-creating cinema of the past, but the temptation to sanitize that raw anger is what spoils it for.